Full text of "North Carolina Symphony Book: Teacher Handbook"

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North Carolina Symphony Book

TEACHER HANDBOOK

Digitized by the Internet Archive

in 2012 with funding from

LYRASIS Members and Sloan Foundation

http://archive.org/details/northcarolinasy200506nort

North Carolina Symphony
Teacher Handbook
2005-2006

Table of Contents

Symphony No. 8 in F Major, Op. 93 Ludwig van Beethoven (1770-1827)

Movement IV, Finale-Allegro vivace

Information by

Monica Keele Jones and Elizabeth Chance from Wake County Schools 1

Prelude to Die Meistersinger von Niirnberg Richard Wagner (1813-1883)

Information by

Beth Yelvington and Lucy Shue from Rowan-Salisbury Schools 22

New England Triptych William Schuman (1910-1992)

I. "Be Glad Then, America"
III. "Chester"

Information by

Sharon Allen from Chatham County Schools 41

Songs:

"This Land is Your Land" by Woody Guthrie (used with permission from Ludlow Music, Inc)..63
"Chester" by William Billings 64

Cover Art by Sarah Pauley, Fuquay-Varina High School class of 2005, and winner of the
Symphony Prize in the 2005 Wake County Gifts of Gold Competition

These concerts are made possible by a grant-in-aid from the State of North Carolina

The following corporations and foundations have made special contributions in support of the North
Carolina Symphony's Music Education Program classroom materials and actively support the North

Carolina Symphony's statewide education mission:

Education Sustainers
William R. Kenan Jr. Charitable Trust
John William Pope Foundation

GlaxoSmithKiine
Education Benefactors:
BB&T SMITHrMNEY

INSURANCE SERVICES, INC. CltigrOUpJ

Education Sponsor: The McLean Foundation

The North Carolina Symphony Teacher Handbook © 2005 by the North Carolina Symphony Society, Inc. Reproduction of this book in
its entirety is strictly forbidden. Permission is given to duplicate charts, diagrams, scores, puzzles, etc. for classroom use only.

North Carolina Symphony
Suzanne Rousso, Director of Education

4361 Lassiter at North Hills, Suite 105 Raleigh, NC 27609 919-733-2750 x235
srousso@ncsymphony.org www.ncsymphony.org

Dear Teachers,

This has been a year of change for the North Carolina Symphony! We welcomed our new music
director. Grant Llewellyn, and he is bringing the orchestra to a new artistic high. He is passionate
about education and attended many of our education concerts in Raleigh this past year. He has been
very impressed with the preparation of the students and the wonderful support our program receives
from you, the music specialists. He is planning to conduct some of the education concerts this year,
so don't be surprised to see him at your concert. We also welcome a new assistant conductor, Ms.
Carolyn Kuan, to the podium. She comes to us from New York where she has been working with
the New York City Ballet. You will find some information about her in the student program book.

We faced another change this year when the administrative offices of the North Carolina Symphony
moved, after being in the basement of Memorial Auditorium for about 30 years. Those of you who
have ventured down to our old offices know that the space was not ideal. I am happy to report that
our new offices in North Hills are lovely, spacious and actually have windows. In addition to the
new office we also opened a store in North Hills, symphony, which houses our box office and sells
musical merchandise. Those of you that attend the workshop will be able to visit our kiosk from the
store; they offer many cool educational items that you will want for your classroom. I hope that you
will take the time to come visit the store if you plan to be in Raleigh.

The upcoming year's education concert program is packed with wonderful classics. Beethoven's
Symphony No. 8, IV. Finale, and Wagner's Prelude to Die Meistersinger von Nurnberg are works
we all know and love. New England Triptych by William Schuman is a great piece of Americana.
Based on folk songs by William Billings, the work exudes the spirit of the Revolutionary War and
the fight against tyranny. Two verses of the song "Chester" will be sung and played, supporting the
Schuman piece. "This land is your land" by the folk singer Woodie Guthrie, is an excellent song
and an icon of Americana. We will open each concert by a work from a North Carolina composer
including the venerable Robert Ward and our own bass trombonist, Terry Mizesko. The strings will
play one of the wonderful string symphonies of Felix Mendelssohn. The winds, brass and
percussion as always will surprise you with their instrumental family demos.

Finally I want to thank this year's writers of the Teacher Handbook: Monica Keele Jones, Elizabeth
Chance, Lucy Shue, Beth Yelvington and Sharon Allen. They have provided you with great
information about this year's composers and works as well as terrific lesson plans. Again, without
them and you, this program would not be possible. As in past years, I am always open to
suggestions; please feel free to contact me by email srousso@ncsvmphony.org or phone
919-733-2750 ext. 235.

All the best!

Suzanne Rousso, Director of Education

LUDWIG VAN BEETHOVEN (1770-1827)

The conductor Hans von Bulow coined the phrase "The Three Bs - Bach, Beethoven and
Brahms," and what would classical music be without any one of them?"

Beethoven can be considered both a Classical and a Romantic composer. He's Classical in his
technique and, like the composer Franz Schubert, set many poems and literary works to music.
He used the works of German Romantic poets like Goethe and Schiller and many others,
including Robert Burns.

His works include: 9 symphonies, 5 piano concertos, 1 violin concerto, 1 triple concerto
(piano, violin, cello), 16 string quartets, 32 piano sonata, 10 violin-piano sonatas, 5 cello-
piano sonatas, 2 masses, many other works including chamber music, incidental music,
overtures, variations, songs, dances and other piano pieces.

BACKGROUND

Beethoven was born December 16, 1770 in Bonn, Germany. His Flemish father, Johann van
Beethoven (1740-1792), married his German mother, Magdalena Keverich (1744-1787). Their
marriage got off to a rocky start. Grandpa Ludwig supported the young family until they
became financially stable only because they named baby Ludwig after him. Young Ludwig's
father and grandfather were both court musicians in Bonn. His father taught him to play the
piano when he was only four years-old. His father was a terrible teacher who drank a lot and
was abusive.

By age eight, his father was charging admission to hear the talented Ludwig perform in their
home. The Prince of Bonn hired a new court organist, Christian Gottlob Neefe, who heard
Ludwig play at the age of twelve and in turn gave him free music lessons and mentored him.
Neefe helped get some of Beethoven's music published and was instrumental in getting
Beethoven his first position as a court organist when he was only fourteen.

At the age of 18, the Prince of Bonn sent Beethoven to Austria to show him off in the music
center of Europe, Vienna. There he played for Wolfgang Amadeus Mozart. Ludwig had hoped
to study with Mozart but his mother became ill and he returned to Bonn to be by her side. Both
his mother and his sister died upon his return. This caused his father's drinking to become
worse, and he lost his job. Ludwig legally became the head of the household, caring for his two
younger brothers as well as his father.

THE TIMES

Beethoven grew up during the "Age of Enlightenment" when things were changing all over
Europe. This period began with a gradual revolution against religion, formality, privilege and

authority. Those in the arts began to show a real interest in learning new ideas focusing on
science, nature, beauty, honesty, common sense, humanity, naturalness, and universal
education. This was the first time that rich and poor were moving towards equality. The
literary movement in Germany was called Sturm und Drang ("storm and stress"). Authors used
their prose to convey clarity and good taste, to offer images of nature, conveying the "language
of man." The music of this time was not bound by nationalistic boundaries. It offered universal
appeal, and was entertaining, expressive and free from the technical complications of earlier
times.

THE EARLY PERIOD

Important pieces from this period include: Symphony No. 1 in C major, Op. 21 (1800),
Symphony No. 2 in D major, Op. 36 (1801-2), the first six string quartets Op. 18 1-6, the first
two piano concertos, about a dozen piano sonatas including the famous "Pathetique. "
Beethoven's works of this time were greatly influenced by Mozart and Haydn.

The period between 1792 to 1802 afforded Beethoven another opportunity to visit Vienna. By
now Mozart had died, but he was offered the opportunity to study with
the great composer, Franz Josef Haydn. When Beethoven's father died and his two brothers
joined him in Vienna, he never returned again to Bonn.

Rather than work for the church or the court as most musicians did at that time, Beethoven
supported himself by selling his compositions, and by attracting funding from patrons. In
Vienna, affluent music-lovers paid Beethoven very well for his compositions but he also gained
fame as a virtuoso pianist. The Viennese loved his technique and his ability to improvise.
Although he was "at the top of his game," he was clouded by a deep depression. He could not
forget the harsh treatment from his father as a young child. He kept remembering his father
locking him in his room to practice, or forcing him to practice in the middle of the night. He
had many other problems as well. He was constantly falling in love with women who were
wrong for him, and his brothers and their families were causing him trouble. Then true disaster
struck when he began losing his hearing, just as he started composing his greatest works.

THE MIDDLE PERIOD

During this Heroic Period (1803-1815) Beethoven composed many large works including
Symphonies Nos, 3-8, his last three piano concertos, his only violin concerto, six string quartets
(Nos. 7-11), many piano sonatas (including the Moonlight, Waldstein, & Appassionata) and his
only opera, Fidelio.

There was a noticeable change in his personality largely due to his continued loss of hearing.
The caring, compassionate man who once took responsibility for his family suddenly became
self-absorbed in his own world of problems, and was now known for his terrible manners and
temper. Much of this stress is heard in his music during this period. His music was different
from the regular music performed for royal gatherings or parties. Beethoven gained fame for
his emotional music that conveyed joy and sadness.

Of all his works, he is today best known for his nine symphonies. Beethoven's symphonies
were more exciting, used larger orchestras and had more dynamic contrasts than others during

that time. He often used a musical theme or tune repeatedly, changing it or just using portions
of it to keep his audience guessing.

Beethoven's Symphony No. 3 (1803-4) "Eroica" in E-flat Major, Opus 55, was said to be the
"key work in his musical revolution," according to Robert Greenberg. "It is a metaphor for the
eternal struggle of the hero against adversity, a struggle with which Beethoven personally
identified." Because of his admiration for the French people and the general responsible for
starting the revolution, Beethoven had originally dedicated this symphony to Napoleon.
However in 1804, after Napoleon made himself Emperor of France, securing his power for
himself, Beethoven violently deleted the dedication.

His Symphony No. 4, full of nontraditional rhythms and harmonies, gained far less fame than
Nos. 3 or 5.

One of his most famous themes is only 4 notes long : the opening of his famous Symphony
No. 5 (1807-08). This symphony shows off Beethoven's ability to develop a motif, and displays
his rhythmic style. A recording of his Symphony No. 5 was sent up with the space probe
Voyager 2. The 5th was written simultaneously with his Symphony No. 6, Beethoven sketching
them in a manuscript now known as the "Petter Sketchbook."

He loved nature and being at his peaceful country home. While still able to hear, he would
often write down different sounds from the forest. His Symphony No. 6 (1808), the "Pastoral"
Symphony, created a musical story or picture. This was not programmatic music like
Prokofiev's Peter & the Wolf. The listeners must use their imaginations. With this symphony,
Beethoven shared the only truly peaceful time in his life. His hearing had been failing for a
number of years, and walks in the countryside were his only joy. He gave the symphony five
movements instead of the usual four, with a descriptive title for each movement:

Movement I Happy feelings being in the countryside

Movement II Scene by a brook

Movement III Gathering of villagers

Movement IV Thunderstorm

Movement V Shepherd's song after the storm

The Egmont Overture was commissioned in 1810 for a play by Goethe. This was a turbulent
time both in politics (Spain vs. the Netherlands) and religion (Catholics vs. the Protestant.) The
play Egmont focused on the people of the Netherlands going to battle against the Spanish.
Spain was ruled by Philip II, a dictator, whose ideas contradicted the Calvinist theology of the
Charles V, Philip's father.

In 1812, Beethoven regained fame and fortune with the popularity of "Wellington's Victory,"
his battle symphony. It was inspired by Wellington's defeat of Napoleon's in Spain, and
premiered at the same concert as his Symphony No. 7.

Other famous works included the overtures Die Ruinen von Athen (The Ruins of Athens) and
Konig Stephan (King Stephen )written for the opening of the Budapest Theatre. It is believed to

have taken him three weeks to write both overtures. Ironically the "Archduke" Trio, with fewer
instruments, alone took three weeks to compose. The next major works, Symphonies Nos. 7
and S. were written at the same time, and took about six to seven months to compose. However
he did not spend all his time writing music. He spent time writing letters, taking warm baths
and meeting people like the writers Karl August Varnhagen, Christoph Tiedge and Elise von
der Recke. and the singer Amalie Sebald.

While a number of his compositions were commissioned, many were written or dedicated to
those he admired or loved. The Opus 82 songs were dedicated to Princess Kinsky (the
publishers omitted the dedication on the score to protect her anonymity), the famous "Fur
Elise" to Therese Malfatti and "An die Hoffnung" to Josephine Deym. In April 1811,
Beethoven wrote to Goethe, expressing his great admiration for Goethe's writings, and
promising him a copy of the music for Egmont, which Goethe eventually had performed in
Weimar in 1814. During the spring of 1811 Beethoven found himself very ill and he went to
Teplitz to recuperate.

During the winter of 181 1-12, he completed nine more Irish folksong arrangements and began
work on his Symphony No. 7. He was in love and he finished nothing else that year except the
song "An die Geliebte" (To the Beloved), based on an unpublished poem by Joseph Stoll.
Beethoven was very careful about not disclosing his relationships and omitted the year from the
manuscript, simply addressing his beloved as "My angel, my all, my self." There are many
references to Beethoven's loves such as "A" for his beloved "Antonie" and his "Josephine."
Also both of his brothers were having marital problems at this time. Carl married a lady who
mismanaged money and was caught stealing, and Johann's wife was equally disgraceful. While
staying with Johann to help him sort his life out, he started the Symphony No. 8, with the
intention of writing a piano concerto, but ultimately evolved into a symphony.

SYMPHONY NO. 8 - is one of the shortest of the nine, and is therefore referred to as the
"Little" Symphony, lasting about 26 minutes.

This work was composed when Beethoven was 42, during the summer of 1812.
His Symphonies No. 7 and 8 were sketched together just as the 5th and 6th, The 5th and 6th
premiered together, and the Symphonies No. 7th and 8th premiered two months apart. The 7th
was much larger, but when the composer Czerny remarked that the 8th was much less popular
than the 7th, Beethoven replied, "That's because it's so much better."

His relationship with his "beloved" dissolved, but in spite of his grief, he composed a rather
cheerful piece. This symphony premiered in 1814, during a period when many again admired
the techniques of the classical age, against which Beethoven had rebelled. This symphony is
full of melodic, harmonic and rhythmic twists. While it began as a Piano Concerto soon the
long passages showing off his piano technique disappear from his sketchbook, and a symphony
began to emerge. Symphony No. 8 is known for its humor, as well as being closer in form and
style to a Haydn symphony than any of Beethoven's other symphonies.

1st movement - ALLEGRO VIVACE E CON BRIO

In the first movement, Beethoven shows his unconventional style in the strange movement of
the chords (use of the subdominant of the subdominant rather then the standard use of dominant
of the dominant). The opening phrases form a complete melody, which is unusual for
Beethoven. It is in F Major, and in 3 A time. It is written in sonata form, with a very long coda.
Antony Hopkins notes that the movement reaches its climax not during the development
section, but at the beginning of the recapitulation. The last bars of the development form a huge
crescendo, and the bars are marked j^(fortississimo) which is a rare dynamic marking for
Beethoven.

2nd movement -ALLEGRETTO SCHERZANDO This movement was written for
Beethoven's friend, Johann Malzel, who invented the metronome. Near the end of the
movement the music suggests that this marvelous new instrument has broken down. Marking it
scherzando makes it much faster tempo than a second movement is expected to be. Typically
the second movement of a symphony is the slow movement. This movement, like Haydn's
"Clock" Symphony, imitated the "machine that created rhythm. It is the wittiest of them all and
also includes a five-note scale played five times (mm. 36-39 and mm. 69-72), cutting across the
duple rhythm of the underlying pulse, and further dislocating the rhythm with syncopation.

3rd movement - TEMPO DI MENUETTO This movement bears an obvious resemblance to a
Haydn minuet. The style of this minuet form, is different from conventional 18th century
dance forms, consisting of "thumping" accents. Like most minuets, though, it is written in
ternary form, with a contrasting trio section with horn and clarinet solos.

4 th movement- E IN ALE ALLEGRO VIVACE The tempo marking indicates a very fast
tempo. It is written in a sonata form which is unusual for the last movement of a symphony.
The opening material reappears again and again in a variety of keys, used different ways.

This movement imitates the first movement, in that before moving to the second subject, it
moves to what seems like the wrong key, then to the expected key (in the exposition: dominant,
recapitulation: tonic). Beethoven was said to have "held his horses back for three movements,
and then let them go in a merry rush of the rondo-like tune that seems to come to a close on a
normal dominant C when it suddenly jerked up to C-sharp, only to have the unexpected note
drop away as quickly as it had arrived. The same thing happens at the recapitulation, and
though the bubbling high spirits leave us little time to worry about details, the sheer
obtrusiveness of that note lingers in the ear, demanding consideration. The questions are
answered in the immense coda, where the same obtrusive note returns with harmonic
consequences, generating new and distant tonal diversion that must be worked out before we
can return pace, Beethoven's wit leaves us invigorated but breathless." - Steven Ledbetter.This
last movement contains octave displacements (covering a full five octaves near the end of the
finale) and improbable continuations and interruptions, such as the sudden unison fortissimos.
The coda has a strikingly loud C-sharp that interrupts the main theme, this time leading the
listener to the first subject theme in F-sharp minor, very far removed from F Major. Beethoven
ends his colossal coda with much of his thematic material heard this time in F Major, perhaps
needing reestablishment after his distant journey to F-sharp minor.

THE LATE PERIOD

This period began around 1816. These works were very intellectual and highly expressive.
They include: the Symphony No. 9y "Choral, " Missa Solemnis, the last six string quartets and
the last five piano sonatas.

Beethoven was in his forties and had much more than a minor mid-life crisis. His hearing was
almost completely gone, driving him to contemplate suicide. He realized he would probably
never marry, he was not composing as much as before and his health was failing. He returned
to Vienna, extremely depressed. His lifelong friends, the Brentanos, left for Frankfurt; he had a
dispute with his brother, Johann and his brother Carl was sick, needing money. Prince Kinsky,
who promised Beethoven some money, died in a riding accident without following through
with his promise of lifetime monetary support. Beethoven's publishers wrote asking him to
revise the last nine songs he had sent, infuriating him. He was no longer a star in the music
world's eyes and his relationship with his nephew, Karl, who he was raising, was deteriorating.

His absorption in his work overcame his despair. The choral setting of Schiller's Ode "An die
Freude" (To Joy) championing the brotherhood of humanity was a huge success. He started a
Tagebuch, a diary of sorts, which he continued using until 1818. It contained notes, quotations
from literature, comments about practical, musical and philosophical matters, personal prayers
and advice to himself.

Beethoven lived to be 57 years old. His death is attributed to cirrhosis of the liver (which was
the 19th century diagnosis, but now modern investigators believe the cause was lupus, an
unknown disease at that time.)

TIMELINE

YEAR

1770
B. born

1771
1772
1773

1774

Beethoven's history

Boccherini 27, CherubinilO,
Haydn 38, Mozart 14

Grandpa Ludwig dies Dec. 24

Brother Caspar baptized, April 8
Ludwig begins piano and violin
lessons from his father

Comparitive history

New Bern becomes the permanent
center of gov't for the Carolina
Colony

New Bern becomes capital ofNC

Boston Tea Party

The Edenton Tea Party (NC)

YEAR

1775

1776

Beethoven's history

Brother Nikolaus baptized, Oct.2

1778

1779

1780

First known public performance
as pianist - playing various
concertos and trios

Begins studying with Neefe

1781

1782

1785

First work: Dressier variations
Paganini born Oct. 27

Comparitive history

the ride of Paul Revere - Revolutionary
War begins. The Wilderness Road carved
out by Daniel Boone

Declaration of Independence signed
One of the first important battles of the
Am. Revolution in the South took place in
Feb. 1 776 at Moore Creek Bridge near
Wilmington. The battle resulted in a
Patriot victory. April 12, 1 776 more than
80 delegates form a congress in Halifax.
The delegates wrote the Halifax resolves, a
paper recommending independence from
Britain for the colonies.

Oct 7 th - a group of Patriots from the
Piedmont region called the Overmountain
Men (because they came from a region
west of the mtns.) drove British troops to
the top of Kings Mountain, and overcame
the entire British force.

In March, British and American forces met
at Guilford Courthouse in what is now
Greensboro. British Gen. Cornwallis won
the battle. Cornwallis surrendered to Gen.
George Washington on Oct. 19th and in
that year, the Revolution ends.

Raleigh is Founded

Pioneers were building log cabins in what
is today Yancey, Mitchell, Avery, Madison
and Buncombe counties.

YEAR

1787

1789
1790

1790
1792

1794
1795

1797

1801
1803
1804

1805

Beethoven's history

He visits Vienna to play for Mozart,
but mother gets sick and he must
return to Bonn. She dies July 17

Comparitive history

Composes Joseph and Leopold
Cantatas Haydn visits Bonn
on his way to London

Mozart (35) dies, Dec. 5th
Czerny born, Feb 21

Rossini born Feb 29

His music first published

start of the French Revolution with
storming of Bastille, 14 July

Of the 105, 000 African Americans
living in NC, about 5,000 were free.

The state ofNC bought 1,000 acres of
land and laid out a street plan of the new
capital city. State lawmakers named the
new city Raleigh in honor of Sir Walter
Raleigh, the founder of the first colony
on Roanoke Island. Raleigh becomes
the state capital. (NC Hist - p. 163)

UNC-CH opens and is the only
university in NC and the first state
university in the US.

Schubert born, Jan 31
Donizetti born, Nov. 29

Prometheus composed

Berlioz born, Dec. 1 1

He cancels the dedication to Napoleon
when he hears that Napoleon proclaimed
himself Emperor

1st public performance of the "Eroica" Symphony
Boccherini (62) dies May 28th
he composes opera Fidelio

YEAR

1807

1808
1809

Beethoven's history

Fourth Symphony, fourth piano
concerto performed. Clementi
visits Vienna and purchases
publishing rights of recent works

He completes 5th and 6th symphonies

Archduke Rudolph, Prince Kinsky and
Prince Lobkowitz agree to pay
Beethoven an annuity.
Mendelssohn born, Feb 3.

Comparitive history

1810

1811

1812

1813
1815
1816

Archbishop Rudolph returns to Vienna
for lessons. Possible marriage to Therese
Malfatti. Meets the Bretano family.
Wrote music for Egmont and Goethe songs.

Chopin born in March and Schumann born
June 9th. "Archduke" Trio completed.
Liszt born Oct. 22. Music for King Stephen
and the Ruins of Athens composed.
Begins work on the 7th symphony.

Meets Goethe in Teplitz. Visits brother
Johann in Linz, where 8th symphony
completed. Prince Kinsky killed in riding
accident. Begins his Tagebuch (journal)

Wagner born May 22

He is granted custody of nephew Karl in
preference to the boy's mother, Johanna.
Karl is sent to boarding school. Prince
Lobkowitz, to whom he dedicated several
works, dies Dec 15. Premiere of the
Barber of Seville by Giocchinno Rossini.

Napoleon invades Russia but is
driven back

Napoleon defeated at Battle of

Leipzig, Oct.

Napoleon defeated at Waterloo

The first water-powered textile
mill is built in NC

1823

the African American Moravian
group built a new church, St.
Philip's Moravian Church, in
It is the oldest African American
Church in NC

YEAR Beethoven's history Comparitive history

1824 Performance of B's 9th Symphony

1827 Karl departs for military service, Jan 2.

He is confined to bed with dropsy. Dies
during thunderstorm at 5:45 pm, March 26

Ludwig van Beethoven, Symphony No. 8

Movement IV: Allegro vivace

Call Chart and Listening Map

0:00 EXPOSITION (mm. 1-90)

mm. 1-28: First Subject (first subject theme first in violins [m. 1-17]; note the

striking C-sharp in m. 17 [0: 15], leading us to a repeat of the first subject
theme)

0:26 mm. 28-47: Transition (modulates to V; back and forth between woodwinds and

strings mm. 43-47)

0:44 mm. 48-90: Second Subject (Beethoven moves abruptly to A-flat using

chromaticism. The second subject theme is first stated by the first
violins in A-flat major, which is flat VI/V. In m. 60 [0:55], it is restated
by the flutes and oboes in C major, which is V)

1:24 DEVELOPMENT (mm. 91-161): begins with sparse strings playing on the opening

triplet motive.

1:30 mm. 98: Restatement of First Subject (Note the humor here, because as it is

typical to repeat the exposition in sonata form. Beethoven leads us to
believe he is doing this, but in fact, he begins the development instead.)

1:35 m. 104: Begins to modulate (see the F sharp in the first violins). Beethoven

touches various key areas throughout the development. For instance,
note m. 152 (2:19), where we have the beginning of the first subject
theme in A Major.

2:28 RECAPITULATION (mm. 162-266)

mm. 162-189: First Subject (in the violins; just like in the exposition, note the
striking C-sharp in m. 178 [2:44])

2:54 mm. 189-224: Transition (stays in I)

3:26 mm. 225-266: Second Subject (theme first stated by the first violins in D-flat

major, which is flat VI/I; at m. 236 [3:38] it is restated by the flutes,
clarinets, and bassoons in F major, which is I)

4:06 CODA (mm. 267-502) THIS IS LONGER THAN THE EXPOSITION. While long

codas are not unusual for Beethoven, this is exceptionally long, even for
him.

4:11 m. 274: Statement of the first subject by violins in B-flat major, which is IV

4:19 m. 280: Begins what seems like more developmental material, including bits of

the first subject in D major at m. 345 [5:21] and then in F major at m.
355 [5:30].

5:45 m. 372: It appears that Beethoven is presenting a second recapitulation, but

Beethoven takes a very drastic turn, when he turns fortissimo D-flats into
fortissimo C-sharps — there they are again! — at m. 374, this time using
them to modulate the first subject theme to F-sharp minor in m. 380
[5:53].

6:04 m. 391-392: Uses octaves again (this time C-naturals) to hammer into an

impending key, which this time is F major (I)

6:19 m. 408: Second subject (This time both statements of the second subject theme

are in F major, unlike the previous times where the second subject theme
is first heard in a flat submediant. This emphasis on F major may be
necessary to "ground" things properly, after Beethoven's recent
rendezvous with F-sharp minor.)

6:30 m. 420: Second subject repeated in the cellos/basses

6:48 m. 439: Extended closing cadential gestures based on repetitions of first subject

motives.

7:25 m. 480: Antony Hopkins describes these last 22 bars as if Beethoven is saying,

"T really am going; not another word; no, I insist; don't bother to see me
out; I'm on my way; yes; time to go now'" (241).

Did You HEAR About This??????

Sound travels as invisible waves of low and high pressure, measured in hertz (vibrations per

second). Human ears hear 20-20,000 hertz. Animals hear even higher pitched sounds.

How we hear:

The outer ear funnels these pressure waves into the inner ear (ear canal). They bounce off the
eardrum and make it vibrate, hit three other bones (the hammer, stirrup and anvil, the smallest
bones in our bodies) and move into a snail-shaped area call the cochlea. Fluid in the cochlea
moves to the row of hair cells, generating nerve signals to the brain.

Your ears affect your balance - the three small canals inside your ear detect movement by
sensing changes in the flow of fluids in the ear. The brain then sends nerve signals to the

body's muscles.

Can you name someone famous who's experienced deafness? (besides Helen Keller):

* C.J. Jones - actor. Born to deaf parents. He became deaf at age seven due to spinal

meningitis. Starred in "A Different World, Sesame Street, and Children of
A Lesser God."

*Rush Limbaugh - had sudden deafness due to an inner ear disease. While working as a
talk show host, he had to use a teleprompter and staff assistance to answer
calls. His problem eventually resolved with a cochlear implant.

*Curtis Pride - baseball player, deaf at birth from rubella. He played with the N. Y. Mets,
Montreal Expos (minors and majors), Detroit Tigers (majors), Atlanta
Braves, and the Kansas City Royals.

*Marlee Matlin - actress; starred in TV's Beauty & the Beast, and Children of a
Lesser God. Author of Deaf Child Crossing , a children's book about
a friendship between a deaf and a hearing child.

* Alexander Graham Bell - invented the telephone, he was not deaf, but his mother was.

He married one of his students who was deaf.

* William Ellsworth "Dummy" Hoy (1862-1961) - the first deaf Major League baseball player

By the end of his rookie year, he led the Washington Senators in stolen bases (82).
In 1889, he threw out 3 Indianapolis base-runners from the outfield. In 1901,
Hoy hit the 1st grand slam homerun in the newly formed American League.

*Juliette Low - founder of the Girl Scouts. She'd already lost the hearing in one ear. Rice
fell in her good ear on the day of her wedding, and the doctor punctured
her eardrum trying to retrieve it, rendering her almost totally deaf.

many people Who are deaf use sign language to
help them communicate.

Write as many Words as You can uslmg the letters
in beethoven's name, then practice signing each
Word.

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8.

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14.

12.

13,

15.

16.

17.
20.

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19.

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24.

Fun Facts About GERMANY

Location: Central Europe bordering the Baltic Sea and the North Sea between the Netherlands
and Denmark

Population: 83,25 1,851 (est. July 2002)

Land area: slightly larger than Montana

Capital: Berlin

Language: German

Common Boy Names: Johannes, Sebastian, Kai, Stephan, Michael, Matthias, Oliver

Common Girl Names: Christine, Katja, Charlotte, Anke, Susanne, Martina, Sabine

Flag: Three horizontal stripes - black, red and yellow

BEETHOVEN WORD SEARCH

ALLEGRO

BONN

CLASSICAL

COMPOSER

DEAF

GERMAN

HAYDN

LUDWIG

MOZART

NEEFE

NINE SYMPHONIES

PASTORAL

PIANIST
ROMANTIC
SONATA
THEME

VIENNA
VIOLINIST

BEETHOVEN WORD SEARCH

SOLUTION

Symphony No. 8

Allegro vivace (Finale)

Theme I

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Settings of music of Beethoven for Recorder
By Monica Keele Jones

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Settings of music of Beethoven for Recorder
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Pastoral Symphony, Third Movement (Joyful Gathering of Country) Beethoven

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Pastoral Symphony, Fifth Movement (Shepherd's Song)

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Settings of music of Beethoven for Recorder
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Sonatina in G

Beethoven

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Sources:

Getting to know the world's greatest composers - Ludwig van Beethoven - written and
illustrated by Mike Venezia , Children's Press, Grollier Publishing, New York, 1996
ISBN 0-516-04542-3

The Master Musicians: Beethoven - by Barry Cooper
Oxford University Press, New York, 2000
ISBN 0-19-816598-6

The Book of Classical Music Lists - by Hubert Kupferberg
Penguin Books, New York, 1985
ISBN 14 01.1188 3 (pbk. )

A History of Western Music, third edition - Claude V. Palisca, Yale University
W. W. Norton & Company, New York, 1980
ISBN 0-393-95136-7

Ludwig van Beethoven - Symphony No. 8 in F major

by Steven Ledbetter, a member of ProArte's Board of Advisors

http://www.proarte.org/notes/beethov2-a.htm

Symphony No. 8 (Beethoven) from Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Symphonv No. 8 (Beethoven )

Symphonies of Beethoven - Robert Greenberg, Ph.D

University of California at Berkeley
San Francisco performances

http://www.teachl2.com/ttc/assets/coursedescriptions/730.asp

4th grade Social Studies book

Old & Sold Antiques - Symphony No. 8 in F major, Op. 93

1935

http://www.oldandsold.com/articlesQ6/synl7.shtml

Monica Keele Jones is a general music teacher at Fox Road Elementary in Wake County. She
thanks God for her husband, LaMonte, and her two children - Victoria, a seventh grader at
Ligon Middle School and Victor, a fourth grader at Pleasant Union Elemementary. She serves
as Senior Choir director at First Congregational in Raleigh.

Elizabeth Chance and husband Ray Chance, are both retired Wake County educators. They are
the parents of three adult children, and one precious granddaughter. Elizabeth is organist at St.
Joseph's Catholic Church and works on a part-time basis at Hope Elementary, where she
volunteered for over a year.

RICHARD WAGNER (1813-1883)

His Life

Wilhelm Richard Wagner was born May 22, 1813 in the city of Leipzig, Germany as the
ninth child of Karl and Johanna Wagner. Karl, employed as a police chief in the city of
Leipzig, died suddenly when Wagner was six months old. Johanna married the actor
Ludwig Geyer in August 1814, and his step-father's theatrical influence paved the way
for Wagner to become one of the world's most famous opera composers.

Wagner received a great classical education and had the intention of becoming a
playwright. He began to study music because he wanted to know how to use music to
enhance his dramas. At the age of eighteen, he enrolled in Leipzig University to study

music.

Following his study at Leipzig University, Wagner enthusiastically began to write his
own operas. Unlike his predecessors, Wagner wrote his own libretti (words or text) to his
operas. By the age of 20, Wagner completed his first opera Die Hochzeit (The Wedding),
although it was not performed until after his death. This same year, he accepted the
position of choir master of the theatre at Wtirzberg, the first of a several theatrical
positions he held.

In 1836 he married actress Minna Planer and they moved to Riga in Latvia, where he
became the musical director at the local opera house. Their marriage was a rocky one
from the very beginning. A few weeks after the wedding, Minna ran off with an army
officer who left her penniless. Wagner took her back but their marriage would bring them
both three decades of misery.

The Wagners lived extravagantly and way beyond their means which necessitated many
moves during their time together. Wagner was plagued by debt his entire life and at one
point spent time in a debtor's prison.

The first move came in 1839 when, after accumulating large amounts of debts, they were
forced to flee Riga in the middle of the night and move to Paris, France. They lived there
for several years where Wagner made a living writing articles and making arrangements
of operas for other composers. Interestingly enough, Wagner wrote over 100 books and
articles, most of which can still be found published today.

After writing his third opera, Rienzi, in 1840, Wagner persuaded the Dresden Court
Theatre to produce it in 1842. The Wagners moved again, this time to Dresden, Germany,
where Rienzi was staged somewhat successfully. They stayed in Dresden for six years,
until Wagner's involvement in a revolutionary coup forced him to leave Germany again
or be imprisoned.

For twelve years, he was exiled from Germany. During this time, he began to write his
masterpiece Der Ring des Nibelungen (better known as The Ring), a group of four operas
that when performed simultaneously lasts over 15 hours. This mammoth work took

Wagner over 26 years to complete although he took considerable breaks to write other
pieces in between.

In 1861, the political ban against Wagner was lifted, and he moved to Biebrich, Prussia
and began work on his only comic opera, Die Meistersinger von Niirnberg. Minna finally
left Wagner for good in 1862, but he supported her until her death in 1866.

Around 1864, Wagner's luck began to improve when King Ludwig II of Bavaria assumed
the throne of Bavaria at the age of 18. He also met and began an affair with Cosima von
Biilow, Franz Liszt's married illegitimate daughter. Eventually, Cosima would divorce
Hans von Biilow and marry Wagner, but not until she had already bore him two
illegitimate children while married to von Biilow.

King Ludwig II admired Wagner's work so much that he settled all of Wagner's debts
and became a supporter of Wagner for the rest of his life. The King eventually paid the
majority of the expenses for Wagner's opera house in the city of Bayreuth, built
especially for performances of The Ring. This opera house still stands, along with the
home King Ludwig II built for the Wagners. Wagner's descendants still live in this house
today.

When the opera house in Bayreuth opened in 1876 with the premiere of The Ring cycle,
there was an incredible audience of famous composers of the day there to see its
premiere — Anton Bruckner, Edvard Grieg, Peter Tchaikovsky, and Franz Liszt.
Tchaikovsky said of the first Bayreuth Opera Festival, "Something has taken place at
Bayreuth which our grandchildren and their children will still remember."

Artistically, the festival was a huge success, but financially it was a disaster. Wagner
abandoned the festival the next year and traveled to London to conduct a series of
concerts to make up the deficit.

Upon completing the opera Parsifal in January 1882, Wagner planned a second Bayreuth
Opera Festival. This time, the festival was a huge success, though Wagner's health was
failing. A series of angina attacks had plagued him and he was extremely ill.

After the festival, the family traveled to Venice for the winter. While in Venice, on
February 13, 1883, Wagner suffered a massive heart attack and died. Cosima, ever
devoted, is said to have held the lifeless body of Wagner in her arms for over twenty-four
hours before allowing anyone to carry him away.

Historic Background - The Meistersingers

Wagner chose many story lines that stemmed from historic people, places or times. For
Die Meistersinger von Niirnberg, he consulted the texts and chronicles of late 15 th and
16 th century German Mastersingers. He had explored this idea before in Tannhauser, an
opera based on the minnesinger tradition.

Both Minnesinger and Meistersinger were German lyric poets and songwriters. The
Minnesang tradition of songs idealizing courtly love grew in the 12 th to 14 th centuries and
developed into the traditions of the Meistersinger in the 15 th and 16 th centuries. One of
the main differences between these two traditions were the social classes of the groups.
Minnesinger were part of the royal court while Meistersinger were skilled artisans.

The largest concentration of the Mastersinger (English translation of Meistersinger)
guilds was in the southeastern German towns. Nuremberg was perhaps the best-known
town for these guilds and their traditions. One reason for the town's notoriety was Hans
Sachs (1494-1576). He was a cobbler and guild-master. He was responsible for creating
over 4,000 master songs along with other types of verses and songs. He also wrote plays
and was a follower of Martin Luther and the Reformation.

Master songs were typically in bar form, with the emphasis on the text or verse.
Mastersingers could create new verses for the same melodies (called Ton.) The form and
composition of the poetic verse was very important. Many songs were dependent upon
number of syllables of the lines; rhythm was not considered important. These songs were
down-to-earth reflections of town life.

There were three classes of members in the guilds. An apprentice worked and learned
from a master, in both trade and skill. A journeyman showed growth and promise in his
skill and began preparing to become a Master. As the guilds flourished, the requirements
for the Master class evolved. In the early 14' and 15' centuries, they were expected to
have learned some of the over 100 Minnesinger Tone and create new verses. Later in the
mid 15 th and 16 th centuries, they had to create at least one new Ton, as well.

The Mastersinger guilds were regulated by town councils. Major singing competitions
were held in conjunction with holidays (the feasts of Easter, Christmas, etc.) Each contest
would begin with free singing open to the public. Only guild members could sing in the
actual competition. Each singer was judged by three or four markers, who would mark
each mistake or broken rule.

Meistersinger guilds prospered into the 16 th century. Many guilds promoted one of two
religious movements (Luther's Reformation or the Catholic Counter-Reformation). In the
late 17 th century, the focus of the guilds was traditic
century, the guilds had disbanded and disappeared.

late 17 th century, the focus of the guilds was tradition. By the mid 18 th and early 19 th

Die Meistersinger von Nurnberg

An opera in three acts

Libretto and music by Richard Wagner

Act I

This story takes place in Nuremberg during the 1500's around the time of Midsummer
Day (the feast of St. John.) Midsummer's Day is a holiday of the Mastersingers' Guilds
and a singing contest is a traditional part of the festivities. Walther von Stolzing, a young
knight, has met and fallen in love with Eva Pogner, the daughter of one of the

Mastersingers. Eva is to wed the winner of the singing contest. Magdalene, Eva's nurse,
and her boyfriend David, who is an apprentice to cobbler and poet, Hans Sachs, try to
coach Walther so he can audition for the Meistersingers. Walther has no experience but
declares that he can make up both words and song. Walther tries to join the guild with an
improvised song but is rejected, to the delight of Meistersinger Beckmesser who plans to
win the contest and marry Eva himself.

Act II

After the disappointing events of the Meistersinger audition, Walther and Eva make plans
to elope. Hans Sachs overhears their plans and decides to try to prevent this because he
has his own plan to enable the lovers to marry.Things go awry when Beckmesser comes
to serenade Eva (who turns out to be Magdalene in Eva's clothes.) Sachs delays
Beckmesser with song. Beckmesser then asks Sachs his opinion of his own song. Sachs
does not want to stop his work. They decide that Sachs can strike a nail for each mistake
Beckmesser makes. By the end, Beckmesser is a nervous wreck and Sachs shoes are
finished. David misunderstands the scene when he sees that Magdalene is the recipient of
the serenade and attacks Beckmesser. Hans Sachs helps the young lovers, Walther and
Eva, to stay hidden and encourages them to return to their homes.

Act III

On the day of the festivities, Sachs helps Walther to shape his master song. Beckmesser
finds Walther's notes (in Sach's handwriting) and claims that he caught Sachs wanting to
marry Eva. Sachs denies it and Beckmesser asks if he can use the verses. Sachs claims
he did not write the verses and that Beckmesser may use them any way he wants. Later,
Walther sings his song to Eva at Sachs' prompting. She is elated and Sachs makes David
a Journeyman in order to witness the "birth" of the song.

Once at the festivities, Beckmesser begins the contest with his song. He makes such a
mess of things that he blames Sachs and runs off. Sachs explains that the verses are
Walther's creation. Walther sings his song and the Mastersingers are so swayed that they
want to make him a Mastersinger right there. Walther refuses, but Sachs convinces him to
accept. Of course, he wins the contest and marries Eva.

Die Meistersinger von Nurnberg - Prelude

The opera was written and composed between 1845 and 1862. It premiered in Munich in
1868 and then in New York in 1886. It was scored for 2 flutes, piccolo, 2 oboes, 2
clarinet, 2 bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals,
harp, and strings.

In the midst of Romanticism and heavy reliance on chromaticism, Wagner composes an
opera that is more traditional in that it is diatonic with conventional harmonies. He
employs the Meistersinger bar form and some actual Meistersinger melodies throughout
the opera. When he uses chromatic harmonies, they are innocuous. It is as if the conflict
between old and new music is found not only in this opera, but also in his life at this time.
He was able to blend techniques of the past with those of the present.

Leitmotif

Wagner includes five themes in the Prelude. These themes are leitmotifs, small melodies,
which he builds on, develops, and uses to connect to the opera story itself. An interesting
side note, Wagner never actually called his themes leitmotifs; he used the term
"Grundthema" (basic idea.) He was also not the first to use these types of themes in his
work, even though he is the one most often associated with the idea. Carl Maria von
Weber was probably the first to make notable use of them. Leitmotif was a term used by
a critic of Weber's music and later by an editor describing Wagner's music.

Theme 1: the Meistersingers Theme (Key of C Major)

It sounds as though the guild is meeting and singing together as a large group.
This is a main theme, to be recalled later.

Theme 2: Walther's Love Song (modest chromaticism)

This very short melody gives the impression of a wistful knight who has found
his true love. This is a minor theme.

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Theme 3: Guild Banner (Key of C Major)

Full brass leads the listener on a march with the Meistersinger guild. You can
envision heralding trumpets calling the guild together. This is a main theme.

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Theme 4: An ode to the art of music and poetry (Key of C Major)

This theme is derived from the Meistersinger Theme (1). It uses a small part of
the theme and develops into a new theme, (another minor theme)

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Theme 5: Walther's Prize Song (Key of E Major)

This is his song with which he wins the contest (a main theme). Wagner moves
to an unconventional key relation using a "conversation" that modulates to the
new key. Perhaps this is a statement on Walther's unconventional methods to
creating his own song (and even Wagner's own methods).

There are five main sections to the Prelude. The first introduces the listener to all of the
themes. Next, there is a lively 4-bar bridge using chromaticism to bring us to the key of
E-Flat Major. In the third section, we hear the apprentices working and making their
preparations with a development, of sorts, on the Meistersinger theme (1).

33E

The recapitulation in the fourth section starts with a statement of the Meistersinger theme
(1) in the low brass and strings, as if the masters are returning to work. Then Wagner
brings back all three major themes at once (1, 3, 5)! In order to make the themes work
together, Wagner varied the rhythm/tempo of each. Theme 1 is in its original rhythm and
tempo. Theme 3 is rhythmically accelerated, from quarter notes to eighth notes. Theme 5
is rhythmically slowed (quarter to half).

STUDENT ACTIVITIES

Activity 1 - Listening

Allow the students a "blind" listening to part of the music. Do not share any information
about the piece or opera yet. Share ideas of what they heard or thought about while the
music played. This would be a good time to use a circle map. Students could record their
thoughts, so that they would be able to remember these ideas when discussed.

In a second listening, explain to the students that the music is from an opera and that it
tells a story. You could share the actual opera story now or wait and see what kind of
answers they come up with and compare those ideas to Wagner's story. Then, use a piece
of paper numbered one through five (with enough space between numbers to write). Tell
them that you will raise your hand, or give some sort of signal, at certain times while they
are listening. At the signal, they should jot down ideas of what could be happening in the
story. The five times you signal students will coincide with the five leitmotifs. This
activity will begin to prepare students to work with the leitmotifs.

Activity 2 -Working with Leitmotifs

After the initial listening, students should become familiar with the leitmotifs that
Wagner used throughout the Prelude. They should be able to recognize each of the
themes when they occur. Lyrics have been provided to help students learn each of the
themes. Some of the leitmotifs have been transposed for ease of singing. You can use the
accompanying listening map and/or listening shields. Students can work individually or
in small groups to put the shields in order as they listen.

Activity 3 - Triple Counterpoint

To introduce the idea of triple counterpoint, teach the students three of the following
simple songs. Group 1: "Sandy Land," "Shoo Fly!" and "Skip to My Lou" OR Group 2:
•"Chatter with the Angels," "Swing Low, Sweet Chariot" and "All Night, All Day." After
students are very familiar with the songs, divide them into three groups. Sing all three
songs together as partner songs, demonstrating to students how Wagner combined three
melodies in the prelude to Die Meister singer. To facilitate this more easily, start with one
group singing the first song, and add a group(song) with each repetition. Another option
would be to sing each song individually, and then combine them altogether at the end.

Activity 4 - Becoming a Meistersinger

This activity does require some time, but it can be interspersed through other lessons,
used as an end-class-period activity, or modified to your own needs.

At the beginning of the lesson, explain to your students that each class is going to become
a guild. Talk about the three levels of the guild. Explain the requirements of each level.
You could use the shields in Activity 5 to chart student progress.

Apprentice : Students must sing any song that they know. They may do this individually,
but to save time, they may sing in groups or as a whole class (really just to get started).
The songs do not need to be very long, perhaps just a verse.

Journeyman : Students create a "song" out of a written poem. The poem should be in bar
form, because it is easier to sing. You can even use nursery rhymes. They only need to
sing a verse (or stanza, an EOG term used in reading poetry selections.) They could use
melodies that are known to them or are improvised.

Mastersinger : Students write their own short poem and create a melody. Once they are
able to complete this task, they have become a guild master! Make a big deal out of their
accomplishment. Award them a "medal" or "trophy" (stickers, special ribbons,
bookmarks.) You could work with your teachers, and integrate this activity in their
language arts lessons. Teachers might make suggestions of books that students could read
or poems to read in class. They could be working on their own poems from the very
beginning of the activity.

Activity 5 - Guild Shields

This activity allows the students to show off their individualism and diversity. They can
design their own shields. Guild shields and banners are used to show others what their
guild is all about. Students can include things they like to do, where they are from,
personal characteristics, etc. Include a writing or small group discussion activity that
allows students to explain their choices.

Activity 6 - Drama

Students can produce their own reenactment of the story. They can use the Prelude as the
background and the means to move the story along. Students can choose to work as a
class of in groups. You could use students in all aspects of the production: actors,
directors, props, publicity, etc. Let them really go for it! Students could also take the
experience a step further and design their own theater for their production (just as
Wagner did in Bayreuth to showcase his Ring Cycle. Working as a team allows students
to find the strengths of their classmate (and themselves). It involves communication,
cooperation, and compromise; all traits that students at this age will benefit from.

CALL CHART FOR PRELUDE TO DIE MEISTERSINGER

Time

Elapsed

Description

Measure #s

0:00-0:16

0:16-0:31

Statement of Theme I
Meistersinger's Theme
(oboes, clarinets, violins)

Strings flourish & build
to restate Theme I

1-8

8-13

0:31-1:02

1:02-1:34

1:34-1:43

1:43-2:04

Restatement of Theme I 14-26

with embellishment
(oboes, clarinets, violins)

Walther's Love Theme 27-38

fugal entrances by the Woodwinds

m. 27 — entrance by the clarinet

m.29 — entrance by the oboe

m. 31 — entrance by the flute

m. 32 — entrance by the clarinet

Strings flourish & build for Theme 3 38-41

(first and second violins)

Statement of Theme 3 41-48

Guild Banner

(all winds — brass and woodwind and the harp)

Full Brass

2:04-2:30

2:30-3:23

3:23-3:48
3:48-4:16

4:16-4:30

Restatement of Theme 3 49-58

same instrumentation

Statement of Theme 4 59-79

actually a small motif of Theme 1

(violins)

Partial Restatement of Theme 4 80-88

Modulation from C Major to E Major 89-96

"A conversation between Walther and Eva"

*Listen for the chromatic down-swoop before
going into Theme 5 (in the clarinet)

Statement of Theme 5 97- 1 00

Walther's Prize Song
(in the first violin)

4:30-5:23 Embellishment of Theme 5 101-117

(cello, clarinet)

5:23-5:34 Bridge 118-122

Modulation from A Major to E flat Major

5:34-6:47 The Apprentices (variation of Theme 1) 122-151

122-128 Strings and woodwinds alternate
129-133 All Woodwinds and French Horn
pickup to 134-137 Strings flourish
Drops down — then starts building to
Recapitulation

6:47-7:05 Recapitulation of Theme I 151-157

Heard clearly in the trombones
And cello

7:05-8:19 Recapitulation of the Three Main Themes 158-187

at once — creates triple counterpoint!

No.l Meistersinger's (bassoon, tuba, double bass)

No. 3 Guild Banner (flute, 1 st and 2 nd horn, violas, second violins)

No. 5 Prize Song (clarinet, first horn, first violins)

8:19-8:39 Recapitulation of Theme 3 alone 188-195

Guild Banner (horn, strings, & timpani)

8:40-9:25 Broader, slower Theme 3 196-210

(brass, woodwinds)

9:25-9:44 Final statement of Theme I 211-217

(piccolo, horn, trumpet, violins, viola)

9:44-10:01 THE BIG ENDING 218-223

THEMES TO SING

Meistersinger Theme (1)

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Come hear our song! A song of true high qua- li - ty. Take our word

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Walther's Love Song (2)

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Guild Banner (3)

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We are the guild who sings for Po-e-try! We are the guild who sings for Ar-tis-try! So that we

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Ode to Art and Poetry (4)

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Walther's Prize Song (5)

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Die Meistersinger Word Search

D N

R T

A G

M C

A Y

A K

U E

J R

N E

G E

R F

I E

W N

BAYREUTH

LUDWIG

ROMANTIC

DRAMA

MEISTERSINGER

SACHS

EVA

NUREMBERG

SONG

GERMAN

OPERA

TRADITION

GUILE

ORCHESTRA

WAGNER

LEIPZIG

]

POETRY

WALTHER

LEITMOTIF

]

PRELUDE

Die Meistersinger Word Search

Answer Key

DN + R + RSOA + + + MG +

R + + OAERP + + E + I +

AG + ICMTNWEI + AWG

M + NHTSAAGSR + VDR

A+SOEILNTA + AEUE

+ + + HSTDET + W+ + LB

+ + C + HNRA+I + + L + M

+ R + EAS + + R + C + E + E
O + RMI + POETRYI + R
+ + RNBAYREUTHP + U
+ EGEDULERP + + Z+N

GEDLIUG + + + + + I + +

RFITOMTIEL + + G + +
+ + + + + + + + + + + + + + +

+ + + + + + + + + + + + + + +

OPERA UNSCRAMBLE

TYSRO
RAM AD
MEYDOC

CNTAMRIO

TALIINOARTD

NARDG

CETHORRAS

NISSERG

LOOS

SORCUH

DERSACN

m U

LXI]

X3 I (tn

E^Z

rxm

O □ □ D

n i p p

W F

ELL

Unscramble each of the clue words.

Take the letters that appear in LJ boxes and unscramble them for the final message.

KEY

TYSRO
RAMAD
ME Y DOC
CNTAMRIO
TALIINOARTD
NARDG
.CETHORRAS
NISSERG
LOOS
50RCUH
DERSACN

SlXOlRlY

CPlMffillXY
RlQlMAlNT.Xn5"

mraAiDanxuaNiAiu

G1R1AINID

OlRlCIHOStaRIAl

SlIINMBIRIgl

m m

D1KIN I OSIRIS

WIAIG1M ElRj I U| S| E| P

IE ITMOTI F S

HELP

TELL HIS STORY

BIBLIOGRAPHY

S. (1989)5
Company.

Adler, S. (1989) The study of Orchestration, 2 nd ed. New York: W.W. Norton and

Columbia Encyclopedia, 6 th Ed. (2003). Richard Wagner. Columbia University Press
http://education. yahoo. com/reference/encyclopedia/entry?id=49751

Freeman, J.W. (1984). The Metropolitan Opera: stories of the great operas. New York:
W.W. Norton and Company.

Gilder, E. (1993). The dictionary of composers and their music. Avenel, New Jersey:
Wings Books, Random House.

Randel, D.M., ed. (1996). The Harvard Biographical Dictionary of Music. Cambridge,
Massachusetts: The Belknap Press of Harvard University Press.

Randel, D.M., ed. (1986). The New Harvard Dictionary of Music. Cambridge,
Massachusetts: The Belknap Press of Harvard University Press.

Stolba, K.M. (1994). The Development of Western Music, 2 nd ed. Madison, Wisconsin:
WCB Brown and Benchmark.

Wong, D. (1997).Wagner meistersinger prelude: a musical analysis, www.imedici.
mcgill.ca/imediciengl/composers/wagner_r die_meistersinger_anal.htm

Internet Resources

www.wikipedia.com a free encyclopedia (find almost anything!)

www.bayreuth.de/ visit Bayreuth and Nuremberg. . .see some sights. . .
www.nuernberg.de/ be sure to click the UK flag.

www.hvmnsandcarolsofchristmas.com/Hymns and Carols/Biographies/hans __sachs.htm

Learn more about the famous Meistersinger Hans Sachs.

http://www.wagnermuseum.de/ engl/index.html

Take a trip to the museum.

http://users.utu.fi/hansalmi/wagner.spml

Wagner Archive: full of information, pictures, and more!

http://www.creativequotations.com/

Find all types of quotations from Wagner and others.

hap:/7\v\v\v. geocities.com/Vienna/Strasse/29Q6/singer.html

A beginner's guide to Die Meistersinger opera.

http://w3.rz-beiiin.mpg.de/cmp/wagner.htm] Classical music pages on Wagner.

http://\v\v\v. trell.org/wagner/chrono.html A comparative chronology and timeline.

Lucy Shue has been a music educator in the Rowan-Salisbury school system for the past
twelve years. She currently teaches general music at Faith Elementary School and
Bostian Elementary School, both K-5 schools in Rowan County. In addition to
elementary school curriculum, she previously taught high school Chorus and Advanced
Placement Music Theory at East Rowan High School. A graduate of Pfeiffer University,
with Bachelor of Arts degrees in Music Education K-12 and Church Music, Mrs. Shue
works to pass the joy of music to the next generation within her schools and within her
community. With the help of Miss Beth Yelvington and The Robertson Foundation, she
worked to make the first ever Rowan County Elementary Honors Choral Festival a
success this past year. She currently holds the position of music director and organist at
St. Peter's Lutheran Church in Salisbury, NC. Lucy currently resides in Salisbury, NC
with her husband Mark, and is the proud mother of two-year-old Ian!

Beth Yelvington received her B.A. in Music Education from Catawba College in
Salisbury, North Carolina and her M.M. in Music Education from the University of North
Carolina at Greensboro. She has taught at China Grove Elementary School in the
Rowan-Salisbury School system for the past eight years. In addition to her teaching, she
directs the China Grove Elementary Cardinal Chorus, facilitates the Recorder club, co-
sponsors the Student Council, and teaches private piano lessons. In the past, Miss
Yelvington has taught children's music and movement classes, class piano, and
children's choir in the Catawba Community Music Program at Catawba College. She is a
member of First United Methodist Church in Salisbury, where she sings in the Chancel
Choir and ring handbells. As of this past school year, she and Mrs. Shue co-chaired the
annual Rowan County Fifth Grade Honors Choral Festival.

WILLIAM SCHUMAN (1910-1992)

His Life

William Howard Schuman was a twentieth century American composer, educator, and
administrator. In fact, his influence on music in America as an administrator was so great
that it seems his contribution as a composer is too often unappreciated.

William Schuman was born on August 4, 1910 in the Bronx, NY. His parents, Samuel
and Rachel Schuman, named him for President William Howard Taft, but his family
called him "Bill." He had one older sister, Audrey. As a young student, he received violin
lessons but he did not like to practice. His first love, like many children growing up in the
Bronx, was baseball.

During junior high, Schuman was transferred to a special public school for gifted
students. His was interested in pop songs and jazz. While attending a summer camp in
Maine his interest in drama led him to write and produce his own play. In high school he
organized and played bass in a successful jazz band, "Billy Schuman and the Alamo
Society Orchestra."

Upon graduation from high school he entered New York University in 1928 to study
business and also worked for an advertising agency while in school. He maintained an
interest in music by writing pop songs with lyricists and friends, E.B. Marks, Jr. and
Frank Loesser.

On April 4, 1930 William Schuman's life changed forever. His sister, Audrey invited him
to a concert at Carnegie Hall. He reluctantly accompanied her to a performance by the
New York Philharmonic under the direction of Aurturo Toscanini. Schuman was so
moved by the experience that the next day he withdrew from business school to pursue
his interest in classical composition. He is quoted by Sheila Keats in Stereo Review as
saying, "I've got to be a musician. My life has to be in music." (June 1974:68-77)
Schuman began studying harmony, counterpoint, and orchestration with private tutors at
the Juilliard School and in Europe at Salzburg's Mozarteum. During this time he attended
as many concerts and operas as possible. He earned a B.S. in music education from
Columbia University in 1935 and later completed studies for his Masters Degree at the
same institution. In the fall he accepted a teaching position at Sarah Lawerence College
in Bronxville, New York where he continued teaching for ten years. Shortly after
beginning his new career as an educator he married Frances Prince in 1936 and their first
child, Anthony William, was born in 1943. It was during his tenure at the college his
compositions first received notoriety and he premiered his first symphony. His second
symphony won a contest judged by Aaron Copland who said, "Schuman is, as far as I'm
concerned, the musical find of the year. There is nothing puny or miniature about this
young man's talent."(Modern Music, Mayl938) Copland became a lifelong friend and
advocate for Schuman. In 1943, Schuman became the first recipient of a Pulitzer Prize for
music for his cantata, A Free Song. His expertise in business served him well as he also
served as director of publications for the music publisher G. Shirmer while teaching at
Sarah Lawrence.

He left teaching at the age of 35 to become of the youngest men to be named president of
the prestigious Juilliard School of Music where he remained until 1962. His daughter,
Andrea Frances, was born during his time at Juilliard. As the president he created the
now famous Juilliard String Quartet, added a dance department, and initiated important,
lasting changes in the music curriculum. He also succeeded in convincing the planners of
the enormous arts performance complex, Lincoln Center, to include the Juilliard School
as one of its constituent organizations.

In 1962, William Schuman left Juilliard to become the president of the Lincoln Center for
the Performing Arts. While at Lincoln Center, he established both the Chamber Music
Society and the Film Society. Even though he held very demanding administrative
positions during his career, he never ceased to compose. He wrote music for band,
orchestra, and voice. He often would rework his compositions for other venues, such as
transcribing his orchestral compositions for band.

Schuman suffered a heart attack in 1968 and resigned his position at Lincoln Center in
January 1969. However, his resignation was definitely not a retirement, as he continued
to compose and actively participate in various music organizations for twenty more years.
He worked with the National Educational Television (now PBS), the Naumberg
Foundation, along with continuing to work with the societies he founded at Lincoln
Center (Chamber Music and Film). He became an advocate for student composers by
founding the BMI Student Composer Awards and was the chairman of the judging panel
for these awards. He was an inspiration for over 350 student composer award winners. He
maintained a strong interest in their training, accomplishments, and compositions. He was
later named Chairman Emeritus as he had previously received the honor of the title,
President Emeritus at both the Juilliard School and Lincoln Center. He received 27
honorary degrees from various colleges and universities and in 1985 he won his second
Pulitzer Prize "for more than half a century of contribution to American music as a
composer and educational leader." Two other noteworthy honors were the National
Medal of Arts (1987) and the Kennedy Center Honors (1989) "for an extraordinary
lifetime of contributions to American culture."

William Schuman was an all-American composer. His contributions range from
American music education and his leadership in the arts to his uniquely American music
such as his set of songs called the Mail Order Madrigals. These are songs which are
settings of texts from the Sears Roebuck catalog. Reflecting on his early years, he would
later say that baseball was the main focus of his youth. As an adult he combined his love
for baseball and music by composing the opera, The Mighty Casey and the cantata, Casey
at the Bat, based on the poem by Ernest L. Thayer. On February 15, 1992, William
Schuman died of heart failure in a Manhattan hospital. His influence continues in his
sweeping music educational changes, in young composers he inspired but most of all in
his musical legacy.

His Music

The compositions of William Schuman are varied but particularly rich in orchestral, band
and choral music. He has been recognized for his mastery of orchestration. His
arrangement of Charles Ives' organ piece, "Variations on America" is one of his most
frequently performed works and is more familiar to many audiences than the original
Ives' composition.

Much of his music showcases energetic melodies, lively rhythms and his brilliant
orchestrations. His orchestrations incorporate his manipulation of timbre by creating
blocks of color by differentiating the sections of the orchestra. Schuman's music can be
very contrapuntal, but his orchestral music is also characterized by long melodies and
grand arcs of sound. Schuman's use of complex rhythms may be reflective of his early
years as a jazz musician. His use of simple rhythmic ostinato, complex rhythmic
counterpoint and his characteristic cross rhythms make rhythm an important element of
his music.

Some of Schuman's best known works include ten symphonies; a concerto for violin;
"The American Festival Overture;" the ballet, Undertow; his opera and cantata based on
Casey at the Bat and two pieces based on the music of early American composer William
Billings, the William Billings Overture and New England Triptych. The latter two pieces
are examples of his creating new works based on pre-existing music. He would
frequently rework his own compositions by arranging orchestral pieces for band.

Schuman's longtime friend and fellow composer, Aaron Copland said of his music:

". . .In Schuman's pieces you have the feeling that only an American could have
written them. . . .You hear it in his orchestration, which is full of snap and brilliance.
You hear it in the kind of American optimism which is at the basis of his music."

New England triptych

Movement I: "Be Glad Then, America"

Movement III: "Chester"

The New England Triptych was first performed on October 28, 1956 by the Miami
University Symphony Orchestra under the direction of Andre Kostelanetz who
commissioned the work. It is based on tunes by early American composer William
Billings, who is sometimes called the "American Mozart." He was born in Boston in
1746 and after the death of is father became apprenticed to a tanner. He had no formal
education but his composing was a result of the early singing school movement in New
England. He was one of the first song writers to break with tradition and write his own
lyrics rather than using Psalm settings. Schuman chose three of his melodies to use in
New England triptych. The word "triptych" comes from Greek and refers to an ancient
writing tablet of three waxed leaves hinged together. It has come to mean something
presented or composed in three sections.

The first movement, "Be Glad Then, America," is a setting celebrating America's bounty.
Schuman's work contains rich harmonic coloring and elaborate counterpoint of
intertwined melodic lines. There is dynamic use of the timpani, slightly dissonant string
passages and powerful horns. He does not quote the melody exactly but excerpts melodic
passages not in Billings' original sequence.

The third movement, "Chester," began as a church hymn. The title refers to a place name
and not a person. This was a common means of naming tunes so they could be assigned
different lyrics. Such is the case with Chester when the sacred lyrics were later replaced
with rousing patriotic ones to rally the Continental Army. It was adopted as a marching
song for the Continental Army and only Yankee Doodle was more popular during the
war.Schuman begins this movement by directly quoting the original melody, hymn style,
in the woodwinds. He manipulates the hymn rhythm through diminution and
augmentation to create a different mood for the tune. He follows this with his original
melody in the strings and later overlaps Billings' melody with his own. Through his
manipulation of the orchestral timbres he creates many variances in dynamics. He uses
the snare drum and cymbals to recall the tune as a marching melody and ends the
movement with a rousing patriotic flourish.

(The following passage is copied directly from the score with omissions concerning the
second movement which will not be heard on this concert.)

Because of the special nature of the composition, the composer requests
that the following be printed in the program book and, if this is not possible,
it be read or paraphrased for the audience.

William Billings (1746-1800) is a major figure in the history of American music. The
works of this dynamic composer capture the spirit of sinewy ruggedness, deep religiosity
and patriotic fervor that we associate with the Revolutionary period. Despite the
undeniable crudities and technical shortcomings of his music, its appeal even today, is
forceful and moving. I am not alone among American composers who feel an identity
with Billings and it is this sense of identity which accounts for my use of his music as a
point of departure. These pieces do no constitute a "fantasy" on themes by Billings, nor
"variations" on his themes, but rather a fusion of styles and musical language.

I. "Be Glad Then, America"

Billings' text for this anthem includes the following lines:

"Yea, the Lord will answer

And say unto his people — behold!

I will send you corn and wine and oil

And ye shall be satisfied therewith.

Be glad then, America,

Shout and rejoice.

Fear not O land,

Be glad and rejoice.
Hallelujah!"

A timpani solo begins the short introduction which is developed predominantly in the
strings. This music is suggestive of the "Hallelujah" heard at the end of the piece.
Trombones and trumpets begin the main section, a free and varied setting of the words,
"Be Glad Then, America, Shout and Rejoice." The timpani again solo, leads to a middle
fugal section stemming from the words "And Ye Shall Be Satisfied." The music gains
momentum and combined themes lead to a climax There follows a free adaptation of the
"Hallelujah" music with which Billings concludes his original choral piece and final
reference to the "Shout and Rejoice" music.

III. "Chester"

This music, composed as a church hymn, was subsequently adopted by the Continental
Army as a marching song and enjoyed great popularity. The orchestral piece derives from
the spirit both of the hymn and the marching song. The original words, with one of the
verses especially written for its use by the Continental Army, follow:

"Let tyrants shake their iron rods,

And slavery clank her galling chains,

We fear them not, we trust in God,

New England's God forever reigns.

The foe comes on with haughty stride,

Our troops advance with martial noise

Their vet'rans flee before our youth

And gen'rals yield to beardless boys."

Classroom Activities with the New England triptych

Dynamics

Students will describe the dynamic changes in "Be Glad Then, America" through
movement and art.

As students listen to the pieces they will describe the dynamics they hear by holding their
hands close together for soft sections and further apart for loud passages. Student should
move their hands horizontally rather than vertically to avoid confusion with pitch (high
and low). By using gradual or sudden movements they can describe the passages that use
crescendo and decrescendo (gradual dynamic changes) and contrast them with the subito
(sudden) piano and subito forte in the timpani solo in the middle of the piece.
After listening, students should discuss the various means Schuman used to manipulate
dynamics. (Individual instruments varying their intensity, as in the timpani solo or by
layering instruments to create more volume.)

Students create flash cards with dynamic symbols on one side and the definition on the
other. During another listening opportunity they can hold up the cards at the appropriate
place in the music.

Call Chart 1 offers dynamic markings from the score but I intended the chart for teacher
use only as dynamics are relative to the listener. Students should have the general concept
of where the dynamics change in the piece and whether the change is gradual or sudden.
(This same lesson can be done with the third movement however I did not include
dynamics in Call Chart 2)

Art Activity Students are given drawing paper and crayons then directed to complete a
free line drawing during the initial listening for that lesson. During the second listening
they will color in spaces found in their drawing, lighter colors for soft sounds and darker
colors for louder sounds.

Timbre

Students will follow the "Timbre Trail" while listening to "Be Glad Then, America."
This movement is a good example of Schuman's technique of using the families of the
orchestra to create distinct blocks of color. Sometimes the instruments are grouped by
register across family groups to contrast high and low registers.

Divide the class into four groups to correspond to the families of instruments. I like to
place the students in the arrangement of the orchestra to prepare them for the concert.
As they listen to the music, they will stand (or raise hands) whenever they hear their
section. During the first listening experience, the teacher should act as conductor cueing
the groups. In subsequent listening experiences students may specify their instruments
and stand during their part (such as timpani solo in the opening and the interplay between
the trumpets and the low brass later in the piece). This activity can also be done with
"Chester" using the information in Call Chart 2.

Give each student a copy of the "Timbre Trail." You make want to make a transparency
so they can follow the listening map with you. At each box write the code for the

instrument family heard. (B-brass, S-strings, W-woodwinds and P-Percussion) The larger
boxes indicate more than one family should be heard that time. At another time, students
may expand this lesson by drawing lines out from the boxes to write the names of
specific instruments. To challenge more advanced students have them create their own
"Timbre Trail" to describe the timbres in "Chester."

Rhythm

Students will manipulate rhythms to create diminution and augmentation of rhythm
patterns and identify examples of the technique in "Chester."

Students will create simple eight beat rhythm patterns using quarter notes and half notes.
The complexity of the patterns should be relative to the grade level.
Notate some of the patterns for the class to perform. If possible, have them clap or play
the patterns on classroom instruments with a metronome to maintain a steady beat.
Show the students how to change the values by halving them (diminution). Perform these
patterns at the same metronome marking as the first. Discuss the change.
Follow the same sequence this time doubling the note values (augmentation),
Students form groups of three. Each group will choose classroom percussion, pitched or
unpitched to perform their rhythms for the class. They will perform the same pattern in
three forms: one student will play the original pattern, another will perform the example
of diminution and the third student will perform the augmented rhythm. Pitched
instruments such as glockenspiels or metallophones are especially good for the
augmented patterns because of their ability to sustain the longer sounds.

Students will listen to "Chester" and note the examples of diminution and augmentation
in the piece. They can create movements to describe the rhythmic changes. The
movements should compliment your teaching area. They can be simple body percussion
or hand movements if space is limited, with locomotor movement if space allows.

Curriculum Correlations

Social Studies - The Revolutionary War

Since Schuman based this work on compositions by 18 th century composer, William
Billings, the study of this music can compliment the fourth and fifth grade social studies
curriculum. "Chester" was composed as a church hymn. The words were later changed
and the song was used by the Continental Army as a marching song. Only the song
"Yankee Doodle" was more popular. Discuss the time period and important events that
led to the colonists seeking freedom from England.

My students are very visually oriented; probably a result of music videos. When they
listen to music they often want to describe what they hear in terms of a story or pictures.
The social studies correlation on Call Chart 2 is a result of their reflections after listening
to "Chester." If you use this lesson, please emphasize that Schuman did not write this as
programmatic music. These are just "memory hooks" to visualize the piece. I have found
they also recognize pieces better if they have some phrases to match with rhythms in the

piece such as "Come - now- time for battle" at the end of the first section and "Fight on

for liberty fight on fight on!" at the end of the piece.

As students listen to the piece direct them to write stories or draw pictures of the images
the music brings to mind for them

Technology /writing

William Schuman had a varied career all involving music in some form. Use his life as a
catalyst for a study of careers in music. Allow students to research various careers in
music and write about them. Since they are preparing to attend a concert by the North
Carolina Symphony, a good place to begin their research is on the NCS website
(www.ncsymphony.org ). Direct them to the link "About Us," follow that link to "People"
on that page and have them click on "the Staff." This is a list of all the behind-the-scenes
personnel they will not necessarily see at the concert but who are vital to the symphony
operation. From this activity you might have them go to a website of an arts organization,
performing group, or educational institution in your area of North Carolina to explore
careers in music. I found that if I went to any search engine (I like www.dogpile.com for
ease of navigation and good links) and type "careers in music," there were many good
links. One of the best ones for career exploration is at www.menc.org . After researching
various options, have them write about the one that interests them most.

Writing/Higher Order Thinking/Music History/Composers

I have adapted this lesson from materials presented at a workshop on teaching main ideas
in reading by Dr. George Gonzales. I appreciate his permission to use his materials in this
lesson and my presentation.

Give Composers a Hand

Students use their hands to recall important facts about composers. Assign a question to

each digit of the right hand.

thumb - who?

pointer finger - wrote what?

long finger - when?

ring finger - where?

pinky - why?

On the thumb they write the composer's name. For symphony preparation I have them
answer the next question with the name of the piece they will be hearing at the concert.
I have them write the century in answer to the "when" and the "where" is the composer's
native country. The "why" question can help them remember any important information
about the piece, for example in reference to New England Triptych, "to create a new
piece based on themes by early American composer, William Billings". Sometimes then
on the palm of the hand I ask them to synthesize the information into two or three
sentences about the composer. I ask the students to follow this procedure for each
composer we study in preparation for the performance. I then create questions from the
information. Some questions come directly from the information on the hand such as
"which composer wrote music based on the compositions of Williams Billings?" Other

questions will require the students to use the information they have to deduce a response
for example "which composer could have traveled via an airplane?" or "Which composer
might have worn a wig because it was the fashion of the time?" To take the activity to the
next level, the students divide into teams and create questions for each other based on the
information they have.

As they complete a study of each composer, I create a display of their "hands" and title it,
Give Composers a Hand. I have provided an example of student work and a template of a
hand. My students enjoy tracing each other's hands for this activity.

Word Search on William Schuman

To introduce the word search, I give each student a copy of the word search but no
pencil. I challenge them to listen as I tell them about the life of the composer and check
to see if I use all the words on the page. I check their listening skills by reviewing
afterwards, going over each word and asking its significance in the life of William
Schuman. I then allow them to do the word search on another lesson to serve as a review.

Crossword on New England Triptych

This is a fun way to review instruments, tempo terms, and composer information.

I may add a bonus question such as, "What is a triptych?"

Answer: something composed or presented in three parts or sections

Call Chart 1
Be Glad Then America

Time

Timbre

Dynamics

timpani solo

:15

sustained bass notes-wwds/strings
bass clarinet, bassoon, string bass

:28

strings-cello melody

mf>p

:44

strings-cello/viola duet

:58

strings

1:04

woodwinds and strings

1:23

brass and percussion
horns and timpani added

1:31

brass (trumpets) alternate
with woodwinds and strings

2:00

antiphonal play between low
brass(trombones) with trumpets
and woodwinds

crescendo

and

decrescendo